Sunday, December 20, 2015

From the P&PC Vault: Getting Ready for Christmas—An Advent Calendar from Hallmark

It's not the first poem that P&PC ever encountered—that distinction probably goes to the quirky "I went to the animal fair" verse that dad used to recite—but it's pretty darn close. We're talking about the 24-line holiday poem printed verse by verse behind the 24 doors and windows of three brick houses featured in the tri-fold "Getting Ready for Christmas" Hallmark advent calendar pictured here. (That's panel one you see here; panels two and three follow in sequence below, concluded by a panoramic photo of the card completely opened up.)

Like the Hallmark Christmas card matchbook featured on P&PC about this time last year and pictured here, the advent calendar solicits an unusual amount of reader involvement to get at the poem; but unlike the matchbook, where the reader is invited to dismantle or deconstruct the poem matchstick by matchstick, the advent calendar asks the reader to help build the poem line by line and window by window in an act of constructive reading that runs parallel to, or perhaps even tropes, the houses that were built brick by brick to shelter them.

If you've spent any time around the P&PC office, the accentuated sequential nature of this window-by-window poem probably brings to mind the old rhyming Burma-Shave billboards that delivered poems in line by line (and sign by sign) units along American highways until the 1960s. Burma Shave's billboards awesomely staged the experience of the poetic line break by setting up signs/lines 100 feet apart from one another—thus letting the driver/reader ride in the exaggerated "white space" between individual lines for several moments. The advent calendar does the Burma-Shave poems one better, though. Because one is supposed to open one window or door every day for each of the 24 days leading up to Christmas, it effectively creates line breaks measured not in terms of seconds on the highway but in terms of days; that is, if the poem is read as intended, each line break in "Getting Ready for Christmas" is effectively 24 hours long!

As scholastically appealing as "Getting Ready for Christmas" is (we might go on to ask, for example, what sort of voyeuristic holiday experience Hallmark is asking us to have in opening all of these windows and doors as we let our fingers do the strolling, caroler-like, through the little neighborhood), we at P&PC value it more for reasons external to the card itself—for its family history. According to Mom (née Ann Salvatore), it was first given to her and her brother Jim in Cleveland, probably in the early 1950s. (Ann had it, or large parts of it, memorized if I remember correctly.) Then they sent it to my great-aunt Tillie Boye (née Matilda Danca) and her children in Lincoln, Nebraska, later that decade. Then the Boyes sent it back to Northeast Ohio for Ann to share with with my sister Trish and me (both Chasars) in the 1970s. Then Ann sent it to Tillie's son Alan and his Boye clan, living in Vermont, in 1988. Then Alan sent it back to the suburbs of Cleveland in the 2000s to share with Ann's grandchildren, my niece and nephew, Wayne and Julianna Grindle. Members of the Salvatore, Danca, Boye, Chasar, and Grindle families have thus been "Getting Ready for Christmas" via this poem for well over half a century.

This holiday season, we wish we could send the actual card to you—the extended P&PC family—as well. While we can't do that, we can give you the composite text of the 24-line poem here:

The guests are welcomed at the door
The gifts are piled upon the floor
The cook is making gingerbread
And all are waiting to be fed
The corn is popping almost done
Come and get it everyone!
A taffy pull is in full swing
Cheerful, merry voices ring
The stockings hang all in a row
Outside it has begun to snow
The younger tots have said their prayers
And now are fast asleep upstairs
But one sits by a candlestick to wait awhile for Old St. Nick
The older children laugh with glee and dance and caper 'round the tree
A train for Jack, a doll for Jill, a scarf for Anne and Gloves for Bill
Underneath the mistletoe Jane steals a kiss from her best beau!
Hot things to drink, good things to eat
For every child a special treat
The grown-up folks sit by the grate
The clock says that it's growing late
Everybody stops to spy the Christmas star up in the sky
The Christmas carols now begin
With everybody joining in
And all the doors are opened wide to welcome in the Christmastide!

MERRY CHRISTMAS

Using your imagination, perhaps you can experience something of the thrill this advent calendar poem offered and, in the process, open a few doors and windows onto where P&PC comes from. Happy holidays all.

About Me

Further thoughts on the intersection of poetry and popular culture: this being a record of one man's journey into good bad poetry, not-so-good poetry, commercial poetries, ordinary readers, puns, newspaper poetries, and other instances of poetic language or linguistic insight across multiple media in American culture primarily but not solely since the Civil War

"Mike Chasar's brilliant, witty book is the definitive guide to the growing field of American popular poetry. Empowered by prodigious research and informed by thorough knowledge of the traditional poetry canon, Chasar's five chapters take us deep into the way poetry functioned in the lives of ordinary people." — Cary Nelson, University of Illinois, editor of The Oxford Handbook of Modern and Contemporary American Poetry

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"Burma-Shave quatrains, newspaper columns, scrapbooks with thousands of stanzas held together by affection and paste, folksy, pseudonymous, nationally famous radio hosts and the fans who sent them an avalanche of homemade verse: these are just some of the materials taken seriously in Mike Chasar’s extraordinarily memorable, and likely influential, study of popular American verse, and of the popular culture that grew up around it, for most of the twentieth century. Chasar combines the painstaking, arduous archival methods of real historians with the close analyses that we expect from literary critics, applied to verse, to images, and to informative prose ephemera. He persuasively links Williams Carlos Williams’s innovations to roadside signs, the Iowa Writers’ Workshop to the Hallmark card; he may change how you see some eminent writers’ work. Even more than that, however, Chasar should get twenty-first-century readers to sit up and notice the uses that so many Americans, only a couple of generations ago, found for the poetry that they enjoyed. Or, to take up a mode that Chasar appears to be the first to analyze: THIS OLD-TIME VERSE/ HAS LOTS TO SAY/ IF YOU CAN READ IT/ CHASAR’S WAY. His book is an ambitious, serious claim on present-day literary studies; it’s also a surprise, and a delight." — Stephen Burt, Harvard University, author of Close Calls with Nonsense: Reading New Poetry

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"As Bob Dylan put it, 'We have our ideas about poets,' and we certainly have our ideas about poetry. Lately, those ideas have led to a national outcry in favor of bringing poetry back into American public life. But in Everyday Reading, Mike Chasarshows us that if we can rethink our ideas about poets and poetry, we will find that poems have always been part and parcel of modern life. This is an important—really, a necessary—book for anyone interested in modern poetics, in the history of reading, in the many appearances of poetry in the era of its supposed disappearance." — Virginia Jackson, University of California Irvine, author of Dickinson's Misery: A Theory of Lyric Reading

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"This breakthrough study convincingly shows that American poetry in the opening decades of the twentieth century, far from being a largely elitist product that appealed to a limited audience, circulated among a number of different readers to a remarkable degree and left its traces in surprising areas." — Edward Brunner, Southern Illinois University Carbondale, author of Cold War Poetry

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"The lyric spring will never cease creating an emotional pressure, sought after by every searching consciousness—this is what Mike Chasar ... has shown in his book Everyday Reading" — Marina Zagidullina, New Literary Observer

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"[T]he originality of Chasar's close readings, the sheer amount of research informing each chapter, and the speculations on what can be learned from such careful analyses of popular cultural practices make Everyday Reading not so everyday and well worth reading." — Lisa Steinman, The Journal of American History

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"[The] tension between the poetic and the popular is the crux of Chasar's fun and thoughtful book. Chasar is a literary archaeologist. He excavates the poetry in Burma Shave ads, literary scrapbooks of the 1920s and 1930s, old time radio shows, and yes, even Hallmark cards. His close reading of [Paul] Engle's poem 'Easter' as well as the reproduction of the actual card is genius. His thesis is that early-twentieth-century market culture was saturated with poetry (as opposed to 'Poetry') that was participatory rather than exclusionary. This emotional interactivity with poetry, Chasar posits, set the stage for the bizarre matrix of media, commerce, and culture that would come to define the second half of the twentieth century." — Dean Rader, American Literature

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"Everyday Reading goes far in illustrating how poetry played a much larger role in most Americans' lives than it does today. Chasar paints a picture of a more various and ultimately dissident American public than most might have expected, a public for whom poetry was a crucial part of an overall strategy to counter the dominant political, economic, and social paradigms of their era. Written beautifully and researched meticulously, Everyday Reading will prove an important resource for political and cultural historians, literary scholars, and anyone else interested in how poetry transcends the page and becomes an active part of how we spend our days." — Daniel Kane, Journal of American Studies

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"Highly recommended." — Choice

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"Everyday Reading is sure to act as a touchstone for scholars interested in popular digital literature as well as the contemporary avant-garde....[It] concludes with a flourish: an anecdote about the author's grandmother's use of clipped poetry in wartime letters to her husband that evidences Chasar's arguments while remaining personal and poignant. It is a fitting moment for a book that is so innovative, important, and constantly successful" — David Levine, CollegeLiterature

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"Scrapbooking, which appears in other chapters following the first one, becomes the controlling metaphor for Chasar's study—and for reading habits today. With so many cultural products driven by individual tastes and various engines of a global economy, readers inevitably select and construct their own 'tradition,' which may have much or little to do with what they have been taught is important. Chasar's well-documented, thoughtful book offers the larger picture of this phenomenon, of which the battle for the best is only part of the story." — Rhonda Pettit, Reception

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"A brilliantly written book, startling the reader with his thorough research and analysis" — Sheila Erwin, Portland Book Review

Now Available from the University of Iowa Press

"[Poetry after Cultural Studies] should become an important part of debates about what poets do, what their poems are good for." — Stephen Burt, author of Close Calls with Nonsense: Reading New Poetry